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Tiger Mask

TITLE: Tiger Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Sacatepéquez
ETHNICITY: Mayan (Kaqchikel)
DESCRIPTION: Tigre (Tiger) Mask
CATALOG #: LAGT006
MAKER: Dolores Pérez Martínez (San Antonio Aguas Calientes, 1932-2021)
CEREMONY: Baile de los Animalitos
AGE: 2006
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint; elastic straps

The Baile de los Animalitos (Dance of the Little Animals), also called the Baile de los Animales, is an annual ceremony in several cities of central and southern Guatemala, usually during a holiday in honor of the town’s patron saint. The dance involves an angel, a hunter, and many different kinds of animals, including the jaguar (sometimes represented by a tiger, as here).  The dance probably predates the Spanish conquest, and involves many speeches by the animals relating to their characteristics, their role in the ecosystem, and (since colonization) their anomalous praise of the Virgin Mary. The hunter no longer hunts the animals in the modern rendition. After the speeches, they all dance to a marimba band.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Moor Mask

TITLE: Moor Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Sacatepéquez
ETHNICITY: Mayan (Kaqchikel)
DESCRIPTION: Moro (Moor) Mask
CATALOG #: LAGT036
MAKER: Juan Sinay (San Antonio Aguas Calientes, 1867-1957)
CEREMONY: Baile del Torito
AGE: 1897
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint; hardware repairs

The Baile de lor Moros y Cristianos (Dance of the Moors and Christians), also sometimes called the Danza de la Conquista, is an annual ceremony in several cities of Guatemala, usually during a holiday in honor of the town’s patron saint. The dance tells the story of the reconquest of the Spain from the Moors in 1492. In the dance, one character represents the Moorish king, another the queen, and a third the Christian king. In addition, one or more Moorish soldiers are represented, as well as an angel in some versions. After a ritual battle, the Moors are vanquished or converted to Catholicism.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Caporal / Negrito Mask

TITLE: Caporal / Negrito Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Sacatepéquez
ETHNICITY: Mayan (Kaqchikel)
DESCRIPTION: Caporal (Foreman) Mask in the form of a Negrito (black man)
CATALOG #: LAGT022
MAKER: Guadalupe Sinay (San Antonio Aguas Calientes, 1913-2005)
CEREMONY: Baile del Torito
AGE: ca. 1950
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint; plastic straps

The Baile del Torito (Dance of the Little Bull), also called the Danza del Torito, is an annual ceremony in several cities of central and southern Guatemala, usually during a holiday in honor of the town’s patron saint. The dance is accompanied by music from a marimba band.

The dance dates back to the 17th century. It tells the story of a cattle ranch in which the caporal or mayordomo (foreman) prohibits the vaqueros (cowboys) to interact with a bull like this one. The cowboys get the foreman drunk and perform bullfights. Eventually, a bull kills the foreman and the dance ends.

The dance frequently begins before sunrise and lasts for up to 12 hours. It may be performed for many days, sometimes over a week. Depending on the size of the town, there may be only one or several bulls and caporales, and up to 50 vaqueros. In some towns, such as Chichicastenango, there is both a white caporal and a black one. In other towns, such as San Antonio Aguas Calientes, there is only one caporal, who is black.

The costume of the vaquero is brightly colored and elaborate, with a hat sporting thick clusters of dyed ostrich feathers. In some towns, the vaquero carries a cape and maraca (rattle). The players of each character are chosen through Mayan rituals and are blessed by an Ai-lj (Mayan priest) before the dance.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Mico (Monkey) Mask

TITLE: Mico (Monkey) Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Solalá
ETHNICITY: Mayan (Kaqchikel)
DESCRIPTION: Mico (Monkey) Mask
CATALOG ID: LAGT042
MAKER: Unknown
CEREMONY: Baile del Venado; Fiesta de Santo Tomás
AGE: 1940s
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Baile del Venado, also called the Danza del Venado, is an annual ceremony in several cities of central and southern Guatemala, usually during a holiday in honor of the town’s patron saint. Frequently it takes place over a week or more.  The dance dates back to the pre-colonization and undoubtedly originates in Mayan rituals of respect for nature and prayer for a good hunt.  In its modern incarnation, the Baile del Venado typically involves several masked characters, including a steward or mayordomo (in Kaqchikel, cachucha), Margarita (his wife), and el Moro (the Moor, who is actually Caucasian in this region and has a quetzal bird on his forehead).  With them are several animals, depending on the village, and they may include a mono (monkey), mico (small monkey), león (lion), tigre (tiger), tigrillo (little tiger), jaguar, perro (dog), a guacamaya roja (Scarlet Macaw), and sometimes others.  In some places, the mono and mico are the same character.  The number of each animal character depends on the size of the village and the number of participants.  While originally this dance simulated a hunt, in modern times the animals dance and the mayordomo and Margarita feed them. The moro enters last, with a quetzal on his head as punishment from the gods for having worn sacred quetzal feathers.  The moro does not hunt the animals, but rather acts as their guardian and caretaker.

The mico is sometimes called mono in Guatemala, but both mean monkey. A mico is sometimes explained as specifically representing a spider monkey, which its coloration (dark head and white mouth and eye rings) suggests. Spider monkeys are endemic to the Solalá region of Guatemala. The mico is also one of several masks worn by the palo voladores (pole flyers) during the Fiesta de Santo Tomás in Chichicastenango. In this ritual, the masqueraders dance to marimba music for a half hour, then two at a time ascend a large pole erected in the town square, then swing on ropes around the pole while gradually descending to the ground. The process takes around six or seven minutes and requires exceptional courage.

This mask was made in the 1940s and danced extensively in Panajachel by Evaristo Rosales. It may come from a moreria (mask and costume maker and renter) in Solalá or Chichicastenango.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Venado (Deer) Mask

TITLE: Venado Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Panajachel
ETHNICITY: Mayan (Kaqchikel)
DESCRIPTION: Venado (Deer) Mask
CATALOG ID: LAGT034
MAKER: Unknown
CEREMONY: Baile del Venado (Dance of the Deer)
AGE: 1960s
MAIN MATERIAL: wood
OTHER MATERIALS: white-tailed deer antlers; paint; plastic eyes; dyed cotton cloth; mirrors; sequins; brass bells; polyester fabric

The Baile del Venado, also called the Danza del Venado, is an annual ceremony in several cities of central and southern Guatemala, usually during a holiday in honor of the town’s patron saint. Frequently it takes place over a week or more.  The dance dates back to the pre-colonization and undoubtedly originates in Mayan rituals of respect for nature and prayer for a good hunt.  In its modern incarnation, the Baile del Venado typically involves several masked characters, including a steward or mayordomo (in Kaqchikel, cachucha), Margarita (his wife), and el Moro (the Moor, who is actually Caucasian in this region and has a quetzal bird on his forehead).  With them are several animals, depending on the village, and they may include a mono (monkey), mico (small monkey), león (lion), tigre (tiger), tigrillo (little tiger), jaguar, perro (dog), a guacamaya roja (Scarlet Macaw), and sometimes others.  In some places, the mono and mico are the same character.  The number of each animal character depends on the size of the village and the number of participants.

While originally this dance simulated a hunt, in modern times the animals dance and the mayordomo and Margarita feed them. The moro enters last, with a quetzal on his head as punishment from the gods for having worn sacred quetzal feathers.  The moro does not hunt the animals, but rather acts as their guardian and caretaker.

This mask was made in the 1960s and danced extensively in Panajachel by Evaristo Rosales. It may come from a moreria (mask and costume maker and renter) in Solalá or Chichicastenango.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Monkey Mask

TITLE: Monkey Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Nahualá
ETHNICITY: Mayan (Kaqchikel)
DESCRIPTION: Mono (Monkey) Mask
CATALOG ID: LAGT033
MAKER: Unknown
CEREMONY: Baile de los Animalitos; Baile del Venado
AGE: 1970s
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint

The Baile de los Animalitos (Dance of the Little Animals), also called the Baile de los Animales, is an annual ceremony in several cities of central and southern Guatemala, usually during a holiday in honor of the town’s patron saint. The dance involves an angel, a hunter, and many different kinds of animals, including the mono (monkey).  The dance probably predates the Spanish conquest, and involves many speeches by the animals relating to their characteristics, their role in the ecosystem, and (since colonization) their anomalous praise of the Virgin Mary. The hunter no longer hunts the animals in the modern rendition. After the speeches, they all dance to a marimba band.

The mono mask is also used in the Baile del Venado (Dance of the Deer).  This specific mono was made by a skilled carver in the Nahualá, Sololá Department, and used for many years there.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Lion Mask for Deer Dance

TITLE: Lion Mask for Deer Dance
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Panajachel
ETHNICITY: Mayan (Kaqchikel)
DESCRIPTION: Lion Mask
CATALOG ID: LAGT018
MAKER: Unknown
CEREMONY: Baile del Venado (Dance of the Deer)
AGE: 1940s
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Baile del Venado, also called the Danza del Venado, is an annual ceremony in several cities of central and southern Guatemala, usually during a holiday in honor of the town’s patron saint. Frequently it takes place over a week or more.  The dance dates back to the pre-colonization and undoubtedly originates in Mayan rituals of respect for nature and prayer for a good hunt.  In its modern incarnation, the Baile del Venado typically involves several masked characters, including a steward or mayordomo (in Kaqchikel, cachucha), Margarita (his wife), and el Moro (the Moor, who is actually Caucasian in this region and has a quetzal bird on his forehead).  With them are several animals, depending on the village, and they may include a mono (monkey), mico (small monkey), león (lion), tigre (tiger), tigrillo (little tiger), jaguar, perro (dog), a guacamaya roja (Scarlet Macaw), and sometimes others.  In some places, the mono and mico are the same character.  The number of each animal character depends on the size of the village and the number of participants.

While originally this dance simulated a hunt, in modern times the animals dance and the mayordomo and Margarita feed them. The moro enters last, with a quetzal on his head as punishment from the gods for having worn sacred quetzal feathers.  The moro does not hunt the animals, but rather acts as their guardian and caretaker.

This mask was made in the 1940s and danced extensively in Panajachel by Evaristo Rosales. It may come from a moreria (mask and costume maker and renter) in Solalá or Chichicastenango.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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